Britten Sinfonia Brighton Festival Chorus · repetition of its initial theme, ... dominated by the first five notes of the perky main theme; ... Mozart referred to ‘the score of

Britten SinfoniaBrightonFestival Chorus

Sun 26 May 2013, 7.30pmBrighton Dome Concert Hall

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Britten Sinfonia Brighton Festival Chorus

O’Regan ChaâbiEuropean premiere

Mozart Oboe Concerto in C major K314

INTERVAL

Mozart Mass in C minor

Nicholas Daniel oboe

Susan Gritton soprano

Lisa Milne soprano

Robert Murray tenor

Henk Neven baritone

Thierry Fischer conductor

Thomas Gould leader/director


Chaâbi

Chaâbi is named after a particular type of Algerian traditional music. This isthe second piece I have written that explores Algerian popular music forms,the first being Raï (2006), commissioned by the Britten Sinfonia.

Like many other musical genres in north Africa, chaâbi was originallyinfluenced by the music of Al-Andalus (the medieval Muslim state that existedbetween the 8th and 15th centuries in parts of what are now Spain, Portugaland France). Chaâbi developed its unique sound in the multi-cultural musicalgroups that were prevalent in the Casbah of Algiers in the first half of the20th century; in particular it is a music born of the dialogue between Jewishand Muslim instrumentalists, composers and singer.

This work is not an ethnographical study and does not pretend to beauthentic. Chaâbi is a meditation on the music of a bygone era in which asingle instrumentalist (frequently an oud or mandolin) would often beckon therest of the performing group to follow. This idea of dialogue between soloistand ensemble is played out in various permutations across the wholeorchestra. Like the music from which my work takes its title, these shiftingtextures occasionally lock together into passages of sustained rhythmicintensity. Chaâbi was commissioned by the Australian Chamber Orchestraand had its premiere in 2012.

© Tarik O’Regan

Tarik O’Regan (b 1978)

Tarik O’Regan, photo: Marion Ettlinger


Wolfgang Amadeus Mozart(1756–91)

Oboe Concerto in C major K314 Allegro apertoAdagio non troppoRondo: Allegretto

Mozart’s only completed oboe concerto was written in 1777 for the Salzburgoboist Giuseppe Ferlendis, and during the next few years it was also takenup by two other virtuoso players: Friedrich Ramm of the celebrated Mannheimorchestra and the Viennese oboist Anton Mayer. But, though this much was

Giuseppe Ferlendis


known for many years from the Mozart family letters, the work itself was lost.It was only in 1920 that the Mozart scholar Bernard Paumgartner discoveredin the Salzburg Mozarteum a set of 18th-century manuscript parts of an oboeconcerto, one of them with Mozart’s name on it. This proved to be a versionin C major of the work already known as Mozart’s Flute Concerto in D major,one of a batch of concertos and quartets that he wrote during his stay inMannheim in the winter of 1777–8 for an amateur flautist named FerdinandDejean.

But how could the scholars be sure that this oboe version is authentic Mozart,and that it came first, as the concerto for Ferlendis? There is some convincingmusical evidence: for example, part of the finale in the flute version hadbecome garbled in the surviving copies and had resisted the efforts of variouseditors (even Brahms) to sort it out, whereas in the oboe version it is quiteclearly right. And the orchestral violins in the flute version never go below alow A, a tone above the open G string, which suggests that their parts havesimply been transposed upwards. Then there is the circumstantial evidencesurrounding Dejean’s commission: Mozart clearly found it uncongenial anddragged his heels over it, so he could well have saved himself some troubleby adapting one of the flute concertos from an existing work. The short-cutcould have become evident, too, as Ramm played the Oboe Concerto inMannheim: certainly Dejean paid Mozart less than half the fee he hadoriginally offered.

Anyway, whether it is played on the oboe or the flute, this is a fine work fromMozart’s early maturity. The first movement has the unusual marking of Allegroaperto, meaning ‘open’ or ‘spacious’ — not just a warning against hurrying,but also a description of sound quality: for example, when the soloinstrument’s first entry rapidly lands on a held top C over the orchestra’srepetition of its initial theme, this does indeed have the effect of expandingand opening out the texture.

The serene slow movement has something of the feeling of a throwback to theBaroque period, with its separation of the material of the orchestra and thesoloist and its accompaniment of the soloist by strings alone, several timesreduced to two-part violins. The finale is a brilliant and ingenious rondo,dominated by the first five notes of the perky main theme; unobtrusively, they areeven stretched and treated in canon to begin one of the main subsidiary ideas.

© Anthony Burton


Mass in C minor K427

KyrieGloria

Gloria in excelsis deoLaudamus teGratias Domine Qui tollisQuoniamJesu Christe — Cum sancto spiritu

CredoCredo in unum DeumEt incarnatus est

SanctusSanctus — OsannaBenedictus — Osanna

Mozart began composing his most ambitious setting of the Latin Mass in Viennatowards the end of 1782, as a thank-offering for his marriage that August toConstanze Weber. His plan was to perform it when he took Constanze to hisnative Salzburg to meet his father Leopold. It was a major undertaking: with thelonger sections of the Mass text, the Gloria and Credo, divided into separatemovements, rather than run together as in Mozart’s earlier Masses for SalzburgCathedral, the completed work would almost have rivalled Bach’s great B minorMass in length. But, in a letter to his father about the project in January 1783,Mozart referred to ‘the score of half a mass, lying here waiting to be finished’;and, as far as we know, he never did finish it. The surviving sources contain acomplete Kyrie and Gloria, but the Credo stops after only two movements andits orchestration is incomplete; there are gaps too in the material of the Sanctus,and there is no Agnus Dei at all (though a sketch has survived for a setting of‘Dona nobis pacem’).

When Mozart finally performed the Mass in Salzburg, in St Peter’s Church inAugust 1783 — with Constanze singing one of the solo soprano parts — itwas on a feast day for which a Credo was not required; he may have used anAgnus Dei from one of his earlier Masses, or had it sung to plainchant. And henever had cause to return to the C minor Mass after that, though in 1785 hedid hastily adapt the Kyrie and Gloria for use in Davidde penitente, an Italian

Wolfgang Amadeus Mozart

Wolfgang AmadeusMozart


oratorio. Recently there have been attempts to complete the Mass using theadditional numbers he composed for the oratorio, but these can be onlyspeculative. Tonight’s performance is of an edition by the Austrian composerHelmut Eder (1916–2005) which restricts itself to Mozart’s torso, with somenecessary tidying up and filling in.

The incompleteness of the Mass is all the more regrettable because Mozart soclearly set out to make it an almost encyclopedic demonstration of how the textcould be treated effectively in different styles. The prevailing manner of settingliturgical texts at the time was in chordal writing for the chorus with independentorchestral accompaniment. But Mozart added to this the contrapuntal textures ofBach and Handel, which he had got to know through the Sunday-morninghouse concerts of his friend Baron Gottfried van Swieten, an enthusiasticadvocate of both composers. There is also the older type of counterpoint,derived from the Renaissance, with no — or virtually no — independentinstrumental parts; and at the other end of the stylistic spectrum there are solosand ensembles of a much more up-to-date operatic kind.

The opening Kyrie begins with an orchestral introduction establishing the scaleand seriousness of the whole work; its principal motif is later incorporated intothe fugal writing for the chorus. The central ‘Christe eleison’ is a soprano solo inthe operatic manner; its vocal line is adapted from a Solfeggio, or vocalexercise, which Mozart had earlier written for Constanze.

The first section of the Gloria is an extrovert C major choral movement withsome Handelian imitative writing (and brief echoes of Handel’s ‘Hallelujah’Chorus). ‘Laudamus te’ is set as an operatic soprano solo, and ‘Gratias’ forchorus — in five parts, with divided sopranos — accompanied by dottedrhythms in the Baroque style. ‘Domine’ is a duet for the two virtuoso sopranos,with most of the contrapuntal interest in the string parts; ‘Qui tollis’ uses twoantiphonal four-part choirs to create expressive chains of discords andresolutions, while the strings maintain jerky double-dotted rhythms; ‘Quoniam’ isa trio for the two sopranos and tenor in smoothly intertwining lines. ‘JesuChriste’, a brief but monumental introduction to ‘Cum sancto spiritu’, is a mightyfugue written in the old style for the chorus doubled by instruments, with acouple of moments over an independent bass line and occasional interjectionsby brass and timpani.

The Credo (for which some of the instrumental parts were missing in Mozart’sabandoned score) is a C major choral movement, full of military-soundingrhythmic figures but in triple metre rather than march time. ‘Et incarnatus est’


(which was lacking most of the string parts) is a sublime set-piece operatic ariafor soprano with obbligato flute, oboe and bassoon, complete with a quadruplecadenza. This would have been Mozart’s biggest gift to Constanze: it seems ashame that liturgical constraints did not allow her to sing it in Salzburg.

The Sanctus (which has survived as a five-part chorus, but which was clearlyintended as a double-choir movement) is broadly conceived, with a wealth oforchestral detail. The ‘Osanna’ (which again had to be reconstructed for doublechoir) is a complex and brilliant double fugue. The ‘Benedictus’ uses all foursoloists for the only time, over a busy accompaniment. It is followed by a repriseof the final section only of the ‘Osanna’ — bringing the incomplete work to anending which, while it may not be liturgically appropriate, seems perfectly suitedto the concert hall.

© Anthony BurtonAnthony Burton is a writer, broadcaster and pre-concert speaker; he edited the AssociatedBoard Performer’s Guides

Constanze Mozart


Kyrie eleisonKyrie eleison. Christe eleison.Kyrie eleison.

GloriaGloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.

Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.

Gratias agimus tibi propter magnam gloriam tuam.

Domine Deus, Rex celestis, Deus Pater omnipotens.

Domine fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis.

Qui tollis peccata mundi, suscipe deprecationem nostram.

Qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus sanctus. Tu solus Dominus. Tu solus Altissimus…

Jesu Christe.Cum Sancto Spiritu in gloria Dei Patris. Amen.

Lord have mercy. Christ have mercy. Lord have mercy.

Glory be to God on high. And on earth peace, good will towards men.

We praise thee. We bless thee.We worship thee. We glorify thee.

We give thanks to thee for thy great glory.

O Lord God, heavenly King, God the Father Almighty.

O Lord the only-begotten Son, Jesus Christ. O Lord God, Lamb of God, Son of the Father.

Thou that takest away the sins of the world, have mercy upon us.

Thou that takest away the sins of the world, receive our prayer.

Thou that sittest at the right hand of God the Father, have mercy upon us.

For thou only art holy. Thou only art the Lord. Thou only art most high…

Jesu Christ.With the Holy Ghost in the glory of God the Father.Amen.


CredoCredo in unum Deum, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Iesum Christum, Filium Dei unigenitum. Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialum Patri:

per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de caelis.

Et incarnatus est de Spiritu Sanctoex Maria Virgine: et homo factus est.

SanctusSanctus, sanctus, sanctus, Dominus Deus Sabaoth; pleni sunt celi et terra gloria tua. Osanna in excelsis.

BenedictusBenedictus qui venit in nomine Domini; Osanna in excelsis.

I believe in one God, the Father Almighty, maker of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, the only begotten Son of God. Begotten of His Father before all worlds. God of God, Light of Light, very God of very God. Begotten, not made,

being of one substance with the Father: by whom all things were made. Who for us men and for our salvation came down from Heaven.

And was incarnate by the Holy Ghost of the Virgin Mary: and was made man.

Holy, holy, holy, Lord God of Hosts; Heaven and earth are full of thy glory. Hosanna in the Highest.

Blessed is he who cometh in the name of the Lord; Hosanna in the Highest.


Biographies

Nicholas Daniel oboeNicholas Daniel won the BBC Young Musician of the Year Competition when he was 18. Hisrecent engagements include appearances as soloist with the National Orchestra of Spain and theSt Louis Symphony Orchestra, and appearances at the BBC Proms, the Wigmore Hall and the DelftChamber Music Festival. In addition to his extensive Baroque and 19th-century repertory, he hasgiven the premieres of works by Harrison Birtwistle, Henri Dutilleux, Thea Musgrave, NigelOsborne, John Tavener and Michael Tippett. His BBC Proms appearances include the worldpremieres of John Woolrich’s Oboe Concerto, and Thea Musgrave’s Helios and Two’s Company,which was written specially for him. Since making his conducting debut at the 2004 Proms, withBritten Sinfonia, he has worked with orchestras in the UK and in Europe (most recently in Germanyand Sweden). A keen chamber musician, he is a member of the California-based CamerataPacifica; a founder member of the Haffner Wind Ensemble and the Britten Oboe Quartet; and alongstanding collaborator with the pianist Julius Drake and the Maggini and Lindsay StringQuartets. He is Artistic Director of the Leicester International Festival and teaches at theMusikhochschule, Trossingen.

Susan Gritton sopranoBorn in Reigate, Susan Gritton won the 1994 Kathleen Ferrier Award. Her roles include EllenOrford (Peter Grimes) at La Scala, Milan, and in Tokyo and Sydney; Blanche (Dialogues desCarmélites) and the title role in Rodelinda in Munich; Countess Madeleine (Capriccio) for GrangePark Opera; Mařenka (The Bartered Bride), Micaëla (Carmen) and Liù (Turandot) for the RoyalOpera; Donna Anna (Don Giovanni) for the Bolshoi Opera, Moscow, and in Montreal; Elettra(Idomeneo) in Amsterdam; Konstanze (Die Entführung aus dem Serail) at the Berlin Staatsoper andin Munich; the title role in Theodora at Glyndebourne; and Fiordiligi (Così fan tutte), Pamina (Die Zauberflöte), Nannetta (Falstaff) and the title role in The Cunning Little Vixen for ENO. Hernotable concert engagements include Schumann’s Das Paradies und die Peri with RogerNorrington and the Scottish Chamber Orchestra at the Edinburgh International Festival; Brahms’sEin deutsches Requiem with Rattle and the Berlin Philharmonic Orchestra and with Christoph vonDohnányi and the Philharmonia Orchestra; Honegger’s Jeanne d’Arc au bûcher with AntonioPappano and the Orchestra dell’Accademia Nazionale di Santa Cecilia; Elgar’s The Kingdomwith Mark Elder and the London Symphony Orchestra; and Britten’s Les Illuminations, including theworld premiere of Britten’s three additional Rimbaud settings, with Martyn Brabbins and the BBCScottish Symphony Orchestra.

Lisa Milne sopranoLisa Milne was born in Aberdeen and studied at the Royal Scottish Academy of Music andDrama. Her engagements include Pamina (Die Zauberflöte) and Susanna (Le nozze di Figaro) forthe Metropolitan Opera, New York; Pamina, Marzelline (Fidelio), Micaëla (Carmen) and the titleroles in Rodelinda and Theodora at Glyndebourne; the Countess (The Marriage of Figaro), thetitle role in Alcina and Anne Trulove (The Rake’s Progress) for ENO; Servilia (La clemenza di Tito),Leonore (Fidelio) and Sian in the world premiere of James MacMillan’s The Sacrifice for WNO;Adèle (Die Fledermaus), Adina (L’elisir d’amore), Zerlina and Donna Elvira (Don Giovanni),Susanna, Ilia (Idomeneo), Despina (Così fan tutte) and the title role in Semele for Scottish Opera;Marzelline in Dallas; Gretel (Hänsel und Gretel) in Stuttgart; Ilia in Copenhagen; the Governess(The Turn of the Screw) for BBC Television; and Mother Abbess (The Sound of Music) and NettieFowler (Carousel) at the Théâtre du Châtelet. She has appeared in concert with the BostonSymphony, Berlin Philharmonic, Rotterdam Philharmonic, New York Philharmonic, ViennaPhilharmonic and Budapest Festival Orchestras, and the Dresden Staatskapelle; and in recital atthe Wigmore Hall, the Schumannfeste, Düsseldorf, and the Aix-en-Provence, EdinburghInternational, Oxford Lieder and City of London Festivals. She was awarded the MBE in 2005.


Robert Murray tenorRobert Murray studied at the Royal College of Music and the National Opera Studio and was aJette Parker Young Artist at the Royal Opera House, where his roles include Tamino (Die Zauberflöte),Lysander (A Midsummer Night’s Dream), Agenore (Il re pastore), Belfiore (La finta giardiniera),Jaquino (Fidelio) and Don Ottavio (Don Giovanni). Elsewhere his roles have included the title rolein Albert Herring for Glyndebourne Touring Opera; Piquillo (La Périchole) and Tom Rakewell (The Rake’s Progress) for Garsington Opera; Ferrando (Così fan tutte) for Opera North; MaleChorus (The Rape of Lucretia) in Oslo; The Simpleton (Boris Godunov), Tamino, Toni Reischmann(Elegy for Young Lovers), Idamante (Idomeneo), Don Ottavio and Steersman (Der fliegendeHolländer) for ENO; Benvolio (Roméo et Juliette) in Salzburg; the title role in Jephtha for WNO;Essex (Gloriana) in Hamburg; and Bob Boles (Peter Grimes) in Aldeburgh as part of the Brittencentenary celebrations. He has previously sung Mozart’s Mass in C minor with the City ofBirmingham Symphony Orchestra under Charles Mackerras and with Le Concert d’Astrée underEmmanuelle Haïm. His numerous concert engagements also include appearances at the Barbican,the BBC Proms and the Gstaad, Aldeburgh and Edinburgh International Festivals; and recitals atthe Wigmore Hall and the Newbury, Two Moors, Brighton and Aldeburgh Festivals.

Henk Neven baritoneHenk Neven studied at the Amsterdam Conservatory. His opera repertory includes Marco (GianniSchicchi), the title role and Leporello (Don Giovanni), Count Almaviva (Le nozze di Figaro),Phorbas in Enescu’s Oedipe, Patrocle (Iphigénie en Aulide), Mercutio (Roméo et Juliette), Aeneas(Dido and Aeneas), Donald (Billy Budd), Schaunard (La bohème), Moralès (Carmen), Ben inMenotti’s The Telephone, Mr Gobineau in Menotti’s The Medium, Pollux (Castor et Pollux) andFrère Léon in Messiaen’s Saint François d’Assise. He has performed with the Opéra National deParis, the Berlin Staatsoper and De Nederlandse Opera; at the Theater an der Wien, Vienna,and La Monnaie, Brussels; and in Dijon, Bordeaux, Montpellier, Tours and Rouen. He hasappeared in concert with the Rotterdam Philharmonic, BBC Scottish Symphony and BergenPhilharmonic Orchestras; and the BBC National Orchestra of Wales, the Orchestre National deFrance, the Orchestre Philharmonique de Radio France, the Orchestre d’Opéra National de Paris,the Berlin Staatskapelle and Les Talens Lyriques. He has performed at the AmsterdamConcertgebouw, the Wigmore Hall, The Sage Gateshead, the Festival Oude Muziek (Utrecht),the Gergiev Festival (Rotterdam), the City of London Festival, the Cheltenham Festival and the BBCProms. His debut album, Auf einer Burg, was nominated for a Gramophone Award. He won theDutch Music Prize in 2011.

Thierry Fischer conductorThierry Fischer began his career as a flautist in Hamburg and at the Zurich Opera beforebecoming a conductor in his 30s and making his first appearances with the Chamber Orchestraof Europe. As principal conductor of the BBC National Orchestra of Wales (2006–12) his majorprojects included the Orchestra’s first tour to China, annual performances at the BBC Proms andmajor celebrations of Messiaen and Dutilleux. He was also principal conductor and artisticadvisor of the Ulster Orchestra (2001–06) and chief conductor of the Nagoya PhilharmonicOrchestra (2008–11), of which he is now honorary guest conductor. He is currently musicdirector of the Utah Symphony Orchestra, with which he has instigated a major commissioningprogramme, inaugurated last year with a cello concerto by Michel Jarrell for Jean-Luc Queyras,which he will also conduct next year with the Orchestre de la Suisse Romande. He has alsoconducted the Philharmonia, Czech Philharmonic, Frankfurt Radio Symphony, CincinattiSymphony, Scottish Chamber, Netherlands Radio Chamber and Swedish Chamber Orchestras;and the Orchestra of the Age of Enlightenment, the Orchestre National de Lyon, the LondonSinfonietta, Northern Sinfonia and the Ensemble Orchestral de Paris. He has recorded extensivelyfor Hyperion, ASV, Chandos and Deutsche Grammophon.


Thomas Gould leader/directorThomas Gould studied with György Pauk at the Royal Academy of Music. In recent seasons he hasappeared as soloist with Aurora Orchestra, the Bath Philharmonia, Britten Sinfonia, the City ofBirmingham Symphony Orchestra, the Hallé Orchestra, the London Contemporary Orchestra,Manchester Camerata, the Orchestra of Opera North, the Australian Chamber Orchestra,Camerata Zürich, the Gävle Symfoniorkester, Kammerphilharmonie Graz and Sinfonietta Riga. Hehas performed at the Wigmore Hall, Kings Place and the Southbank Centre, London; and at theAldeburgh, Bath, Buxton, Plush, Presteigne, Prussia Cove, Sounds New, Spitalfields, ErnenMusikdorf, Darwin, Lanaudière, Malta Arts, Montreal Bach, Nürnberg Kammermusik, Spoleto andVerbier Festivals. Last year he performed with the Royal Philharmonic Concert Orchestra at theRoyal Albert Hall; the London Concert Orchestra at Symphony Hall, Birmingham; and the LosAngeles Philharmonic Orchestra under John Adams at the Walt Disney Concert Hall, Los Angeles.He is also a member of the swing band Man Overboard and plays at leading jazz venues. Hehas given many world premieres, including Nico Muhly’s Seeing is Believing, Christopher Ball’sViolin Concerto, Mark Bowden’s Lines written a few miles below and Joe Duddell’s All StarsAligned. He is Leader of Aurora Orchestra and Britten Sinfonia.

Britten SinfoniaBritten Sinfonia is a pioneering ensemble. Noted for its great versatility and its bold programming,which aims to make intelligent connections across 400 years of repertory, the orchestra breakswith tradition by not having a principal conductor or director. Instead it collaborates with a rangeof international guest artists from across the musical spectrum, resulting in highly insightful andenergetic performances. Britten Sinfonia is an associate ensemble at the Barbican, London, andhas residencies in Norwich, Brighton and Cambridge, where it is the University’s orchestra-in-association. The orchestra also performs a chamber music series at the Wigmore Hall andappears at the major UK festivals, including the Aldeburgh Festival and the BBC Proms. Itsgrowing international profile includes regular tours to Mexico, South America and Europe. InFebruary last year the orchestra made its American debut at the Lincoln Center, New York.Founded in 1992 and inspired by the ethos of Benjamin Britten, the orchestra is defined byilluminating and distinctive programmes and a deep commitment to bringing outstanding musicboth to the world’s finest concert halls and to the local community. Britten Sinfonia is a BBC Radio 3 broadcast partner and regularly records for Harmonia Mundi and Hyperion.

First violinsThomas Gould(leader/director)Alexandra WoodCharlotte MacletKatherine ShaveGillon CameronCatrin Win MorganAlex AfiaShana Douglas

Second violinsMiranda DaleAlexandra ReidSuzanne LozeJudith KellyMarcus BroomeZoe Davies

Violas Clare FinnimoreFelix TannerChris PitsillidesRebecca Low

CellosCaroline DearnleyBen ChappellJoy HawleyLucy Payne

Double bassesStephen WilliamsBen Russell

FluteIleana Ruhemann

OboesDaniel BatesMatthew Draper

BassoonsSarah BurnettSimon Couzens

HornsNicolas FleuryChris Davies

TrumpetsHeidi BennettJo Harris

TrombonesDouglas ColemanAndrew White

Bass tromboneAndrew Waddicor

TimpaniBill Lockhart

OrganIain Farrington


Brighton Festival ChorusBrighton Festival Chorus (BFC) was founded by László Heltay for the 1968 Brighton Festival, atwhich it performed Walton’s Belshazzar’s Feast with the Royal Philharmonic Orchestra. It is now oneof the most sought-after and versatile choirs in the country, with a busy schedule of concerts,recordings and tours both at home and abroad. BFC performs throughout the year at the majorLondon venues, many European centres and each Brighton Festival.

In over 40 years of music-making, BFC has appeared with all the major British orchestras and many ofthe most celebrated conductors of our time, including Ashkenazy, Bernstein, Dorati, Maazel, Ozawa,Previn, Rattle, Slatkin and Tennstedt. Its extensive discography includes award-winning recordings ofBelshazzar’s Feast and Tippett’s A Child of Our Time with the Royal Philharmonic Orchestra under AndréPrevin, and a recent recording of Debussy’s Le Martyre de Saint Sébastien with L’Orchestre National d’Îlede France under Jacques Mercier, which was awarded Le Choc de la Musique.

The Chorus’s highlights over the last year include Shostakovich’s Babi Yar with the PhilharmoniaOrchestra conducted by Vladimir Ashkenazy and Tippett’s King Priam conducted by Sian Edwards, both atthe 2012 Brighton Festival. Its future plans include the live accompaniment to Carl Dreyer’s silent classic La Passion de Jeanne d’Arc and a tour of northern France performing Verdi’s Requiem in Amiens andRennes as part of ACT network. ACT is a project selected under the European cross-border CooperationProgramme INTERREG IV A funded with support from the European Regional Development Fund.

Brighton Festival ChorusPresident: Mark Elder CBE | Conductor Emeritus: László Heltay | Music Director: James MorganAssociate Music Director: Matthew Morley | Accompanist: Sylvia Holford

First sopranosLucy AlwynClaire AshtonJinny BriantMarion BrookerJenny ClarkeSusan CloughSian Corum-HainesJudy CunniffePoppy DamazerJo DeardenLiz HanlonSylvia HolfordElizabeth HughesCarolyn HulattAntonia HyattAntonia HyattPatricia JeffreysMirella MarlowHarriet MatthewsJane ParkinsonAnn PhillipsonSherrie SpinksJoanna StevensGill SudberyBettina WalkerAnne WebberPamela Wicks

Second sopranosEllen BehrensAnn BerkovitchLucy BrettEsme CaldwellPip CraneKatherine DooleyGillian EvansHeather Evans

Elizabeth GraverShirley GreenwoodAmanda LoveJinks McGrathLauren PinkFenella PriorAngela PullenVicki TabrahJane TalbotPatta TolputtJo Turner

First altosViv AloyMaggie AndersonViki BakerKathleen BelfieldAnne BoyceWendy ForbesKaty Friese-GreeneJean GoddardGeorgie GoddardBarbara GreenAlison HodgeSarah HopwoodAnne JonesGill KayJulia KnightSally LloydSharon MetcalfeHilary OrromMerrill PlowmanEllie RawlinsAlexandra Reed

Second altosJanet BatemanPat Bayley

Fiona BlythHannah ButtersRachel CooperJoanna CornellMary CrowtherSarah DroscherSarah EarlJulie EmertonElaine FearLiz GibsonBettina HarrisMarilyn LinehanJulia LynnRachel PulhamPaula SargentLiz ShawSally TatnallFiona Walsh

First tenorsAlan IrelandAndrew MundayMalcolm OllisTim PetersTim RoundingNeil ToryPeter TrattJulian Wilkinson

Second tenorsBob AhernSimon AshdownBuster AshdownNick BostonRichard FawdreyRodney GadsdenNick JarvisDuncan Mackrill

Andrew Manning-JonesJim Redwood

First bassesIan AllisonAndrew BurchfieldPaul EllisonDan GilesDavid GoddardEd GriffithsPeter HuntSteve LinehanSimon MadgeDavid McAuliffeGarry MitchellJeremy PinkessRichard PulhamMatthew RyanPatrick WarrenClive WhitburnChristopher Williams

Second bassesTim BirdRichard BlowsStephen CottonRufus CottonBrian DerbyshireMichael EvansNeil Fraser-SmithJohn HayllarMike HutchingsMark MolonySpencer NashMichael SandersTim StraussEric Thompson


Brighton Dome & Brighton Festival

Brighton Dome & Brighton Festival is a registered charity that runs the year-round programme at BrightonDome (Concert Hall, Corn Exchange and Studio Theatre) as well as the three-week Brighton Festival thattakes place in venues across the city.

ChairMs Polly Toynbee

Board of Trustees Ms Pam Alexander, Cllr Geoffrey Bowden, Mr Donald Clark, Prof. Julian Crampton, Mr Simon Fanshawe, Mr Nelson Fernandez, Prof. David Gann, Mr David Jordan, Mr Alan McCarthy, Cllr Mo Marsh, Mr Dermot Scully, Ms Sue Stapely

Producing Brighton Festival each year is an enormous task involving hundreds of people. The directors would like tothank all the staff of Brighton Dome and Festival, the staff team at our catering partners Peyton & Byrne, the staff atall the venues, the volunteers and everyone else involved in making this great Festival happen.

Chief Executive Andrew CombenPA to Chief Executive Heather Jones

Senior Producer Tanya Peters

Brighton Dome & Brighton Festival Artistic PlanningMusic Producer Laura DucceschiTheatre Producer Orla FlanaganProgramming Coordinator Martin Atkinson, Rosie CraneProgramme Manager Jody YebgaVenue Diary Manager Lara Hockman

Brighton Festival Artistic Planning and ProductionProduction Manager, External Venues Ian BairdProduction Manager, Outdoor Events Polly BarkerProducing Assistant Charlotte BlandfordAssociate Producer Sally CowlingFestival Classical Producer Gill KayLiterature and Spoken Word Producer Mathew ClaytonArtistic Planning Volunteers Maddie Smart, Martha Bloom, Grace Brannigan, Chloe Hunter Volunteer Coordinator Melissa PerkinsPeacock Poetry Prize Volunteer Annie Tomlinson

Learning Access and ParticipationHead of Learning Access and Participation Pippa SmithCreative Producer/26 Letters Programmer Hilary CookeLearning Access and Participation Manager Rebecca FidlerLearning Access and Participation Assistant Alex EppsLearning Access and Participation Volunteer Coordinator Kelly Turnbull

Director of Development Barbara MacPherson

Development and MembershipTrusts and Foundations Associate Carla PannettDevelopment Manager (maternity leave) Sarah ShepherdDevelopment Officer Ceri EldinMembership Officer Kelly DaviesDevelopment Administrator Dona CrisfieldDevelopment Communications Volunteer Patricia Nathan

Director of Finance and Deputy Chief Executive Amanda Jones

FinanceManagement Accountant Jo DavisSenior Finance Officer Lizzy FulkerFinance Officers Lyndsey Malic, Carys Griffith, Donna Joyce

Human ResourcesHuman Resources Officer Kate TelferAdministrative Assistant (HR) Emma CollierHuman Resources Volunteer Melissa Baechler

Contracts and Information TechnologyHead of Management Information Systems Tim MetcalfeContracts Manager Gwen AveryICT Support Officer Paul SmithAdministrative Assistant (Contracts) Cathy Leadley

Director of Marketing Carole Britten

Marketing and PressPress and PR Manager Nicola JeffsHead of Press (maternity leave) Shelley BennetMarketing Manager Marilena ReinaSenior Marketing Officer (maternity leave) Georgina HarrisActing Senior Marketing Officer Carly BennettMarketing Officer James BartonFreelance Marketing Officer Rasheed RahmanSenior Press Officer Chris ChallisDesign and Print Production Officer Louise RichardsonDigital and Administrative Officer Annie WhelanBroadcast PR Anna ChristoforouFestival Photographer Victor FrankowskiMarketing Volunteers Muna Amor, Alice GarsideDesign Volunteer Jason WilkinsonPR Volunteer Elizabeth Hughes

Ticket OfficeTicket Services Manager Steve CottonDeputy Ticket Services Manager Steve BennettTicket Services Supervisor Phil NewtonSenior Ticket Services Assistant Dom PlucknettTicket Services Assistants Laura Edmans, Emily Adams, Marie-Claire De Boer, Jacqueline Hadlow, Josh Krawczyk, Bev Parke, Florence Puddifoot, Jamie Smith, Caroline Sutcliffe

Brighton Dome & Brighton Festival Staff


ProgrammesEditor Alison Latham | Biographies editor Oliver Tims | Design Heather Kenmure 020 7931 7639 | All articles are copyright of the author

Director of Operations Maxine Hort

ProductionHead of Production Rich GarfieldEvent Production Manager Olly OlsenOperations Production Manager Kevin TaylorProduction Coordinator Erica DellnerConcert Hall Senior Technician Nick Pitcher, Sam WellardCorn Exchange Senior Technician Andy FurneauxStudio Theatre Senior Technician Beth O’LearyTechnicians Jamie Barker, Sam Burgess, Bartosz Dylewski, Scott McQuaide, Jem Noble, Adam Vincent, Seth Wagstaff, Csaba Mach,Mike Bignell, Al Robinson, John Saxby, Jon Anrep, Chris Tibbles, Dan Goddard, Nick Goodwin, Nick Hill, Philip Oliver, Peter Steinbacher, Christos Takas, Youssef El-Kirate, Daniel Harvey, Marc Beatty, Rebecca Perkins, Owen Ridley, Graham Rees, Eliot Hughes, Matt Jones, James Christie, Robert Bullock

Conference and Event SalesBusiness Development Manager Donna MillerConference and Event Sales Manager Delphine CassaraMarketing Assistant Helen Rouncivell

MaintenanceMaintenance Manager John RogersMaintenance Supervisor Chris ParsonsMaintenance Plumber Colin BurtMaintenance Apprentice Matthew Ashby

Visitor ServicesHead of Visitor Services Zoe CurtisVisitor Services Manager Sarah WilkinsonEvent Managers Morgan Robinson, Tim Ebbs, Simon Cowan, Josh WilliamsDuty Event Managers Jamie Smith, Adam SelfVisitor Services Officer Emily CrossSenior Visitor Services Assistant Kara Boustead-HinksVisitor Services Assistants Peter Bann, Graham Cameron, Melissa Cox, Anja Gibbs, Valerie Furnham, David Earl, Andrea Hoban-Todd, Tony Lee, Jules Pearce, Joe Pryor, Alex Pummell, Josh Rowley, Thomas Sloan, Adam Self, Claire Swift, Carly West, Nicky Conlan, Matt Freeland, Matthew Mulcahy, Richard Thorp, Emily CrossVisitor Services Volunteer Coordinator Lizzy Leach

Front of HouseFront of House Manager Ralph CorkeFront of House Supervisors Bernard Brown, Kara Boustead-Hinks, Bill Clements, Gabi Hergert, John Morfett, Jeff Pearce, Betty Raggett,Michael Raynor, Adam Self

Stewards and SecurityPaul Andrews, David Azzaro, Peter Bann, Janey Beswick, Hannah Bishop, Jim Bishop, Penny Bishop, Andy Black, Sarah Bond, Sara Bowring, Alice Bridges, Frank Brown, Andy Buchanan, Johanna Burley, Carole Chisem, Julian Clapp, John Clarke, Tricia Clements,Joyce Colivet, NIcky Conlan, Mary Cooter, Fraser Crosbie, Darren Cross, John Davidson, Marie-Clare De Boer, Lawry Defreitas, Paddy Delaney, Emma Dell, Kathy Dent, Judi Dettmar, Alan Diplock, Melanie Dumelo, Maureen East, Jan Eccleston, Abigail Edwards,Daniel FlowerDay, Maria Foy, Valerie Furnham, Betty Gascoigne, Anja Gibbs, Vivien Glaskin, Matt Goorney, Debbie Greenfield,Louise Gregory, Ellie Griffiths- Moore, Paul Gunn, Gillian Hall, Kezia Hanson, Thomas Haywood, Martin Henwood, Al Hodgson, Mike Hollway, Peter Holmes, Frances Holt, Tony Jackson, Emily James-Farley, Mick Jessop, Julie Jones, Mark Jones, Julia Jupp, Jim Killick, Kev Koya, Jon Lee, Emma Levick, Ady Limmer, Samatha Lucus, Vicki Lywood-Last, Carol Maddock, Ivica Manic, Tania Marsh,Carole Moorhouse, Nick Morgan, Lisa Murray, Richard Nast, Mlinh Nguyen, Paley O’Connor, Brendan O’Meara, Lucy Paget, Simon Pattenden, Jules Pearce, Noele Picot, Rachel Potter, Will Rathbone, Grant Richie, Jenny Ridland, Ruth Rogers, Joshua Rowley, Eve Saunders, Rossana Schaffa, Laura Scobie, Samantha Sharman, Joe Simmons-Issler, Caroline Smith, Graham Smith, Jamie Smith, Alex Sparham, Sheila Stockbridge, Richard Thorp, Brigitt Turner, Carly West, Geraldine White, Cicely Whitehead, Geoff Wicks, Linda Williams.

Brighton Dome & Brighton Festival


Documents

Britten Sinfonia Brighton Festival Chorus · repetition of its initial theme, ... dominated by the first five notes of the perky main theme; ... Mozart referred to ‘the score of